Reinhold Friedl & Gwennaëlle Roulleau
strata & spheres
Zeitkratzer’s Reinhold Friedl gets his talons back inside the piano for an enthralling quiet/loud duet with Gwennaëlle Roulleau’s transformative electro-acoustic array of piezo mic’s and rare devices such as the DuoFluctus EBow feedback kit. A vivid reminder of the avant-garde’s capacity to perplex, exercise and fizz minds, rather than go up its own arse.
“At the first moment the title sounds vague and imprecise, but this is deceptive: The music Roulleau and Friedl spread out here before our ears is crisp and sharp and precisely what the title promises: Not any arbitrary vibrational fields but physical and energetic transitions of matter and energy, constant changes of state, generating sensual transformations in terms of strata and spheres . Strata with well defined, sonic boundaries versus spheres as the unlimited, cosmic, intermingling, overwhelming, immersive.
Reinhold Friedl's pianistic mathematics blend with Gwennaëlle Roulleau's granular organics, playing with interferences between sources of different nature. From epileptic jolts to tonal lines as elegant as they are imperturbable, we slide down the strings, collide with electronic sounds, particles, glitches or low voltages, to open up harmonic fields. Changing cycles of notes and vibrations generate new materials, rough or liquid, light or massive. The marriage of cycles and rhythms reveals new sonic beings.
We vibrate between strata and spheres , the intimate and the infinitesimal, the latent movement and the momentum that sweeps away, brutal, without asking for a second thought. Decisive micro events evoke logical musical forms, based on the play of spatial shapes: strata & spheres.”
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Zeitkratzer’s Reinhold Friedl gets his talons back inside the piano for an enthralling quiet/loud duet with Gwennaëlle Roulleau’s transformative electro-acoustic array of piezo mic’s and rare devices such as the DuoFluctus EBow feedback kit. A vivid reminder of the avant-garde’s capacity to perplex, exercise and fizz minds, rather than go up its own arse.
“At the first moment the title sounds vague and imprecise, but this is deceptive: The music Roulleau and Friedl spread out here before our ears is crisp and sharp and precisely what the title promises: Not any arbitrary vibrational fields but physical and energetic transitions of matter and energy, constant changes of state, generating sensual transformations in terms of strata and spheres . Strata with well defined, sonic boundaries versus spheres as the unlimited, cosmic, intermingling, overwhelming, immersive.
Reinhold Friedl's pianistic mathematics blend with Gwennaëlle Roulleau's granular organics, playing with interferences between sources of different nature. From epileptic jolts to tonal lines as elegant as they are imperturbable, we slide down the strings, collide with electronic sounds, particles, glitches or low voltages, to open up harmonic fields. Changing cycles of notes and vibrations generate new materials, rough or liquid, light or massive. The marriage of cycles and rhythms reveals new sonic beings.
We vibrate between strata and spheres , the intimate and the infinitesimal, the latent movement and the momentum that sweeps away, brutal, without asking for a second thought. Decisive micro events evoke logical musical forms, based on the play of spatial shapes: strata & spheres.”
Zeitkratzer’s Reinhold Friedl gets his talons back inside the piano for an enthralling quiet/loud duet with Gwennaëlle Roulleau’s transformative electro-acoustic array of piezo mic’s and rare devices such as the DuoFluctus EBow feedback kit. A vivid reminder of the avant-garde’s capacity to perplex, exercise and fizz minds, rather than go up its own arse.
“At the first moment the title sounds vague and imprecise, but this is deceptive: The music Roulleau and Friedl spread out here before our ears is crisp and sharp and precisely what the title promises: Not any arbitrary vibrational fields but physical and energetic transitions of matter and energy, constant changes of state, generating sensual transformations in terms of strata and spheres . Strata with well defined, sonic boundaries versus spheres as the unlimited, cosmic, intermingling, overwhelming, immersive.
Reinhold Friedl's pianistic mathematics blend with Gwennaëlle Roulleau's granular organics, playing with interferences between sources of different nature. From epileptic jolts to tonal lines as elegant as they are imperturbable, we slide down the strings, collide with electronic sounds, particles, glitches or low voltages, to open up harmonic fields. Changing cycles of notes and vibrations generate new materials, rough or liquid, light or massive. The marriage of cycles and rhythms reveals new sonic beings.
We vibrate between strata and spheres , the intimate and the infinitesimal, the latent movement and the momentum that sweeps away, brutal, without asking for a second thought. Decisive micro events evoke logical musical forms, based on the play of spatial shapes: strata & spheres.”
Zeitkratzer’s Reinhold Friedl gets his talons back inside the piano for an enthralling quiet/loud duet with Gwennaëlle Roulleau’s transformative electro-acoustic array of piezo mic’s and rare devices such as the DuoFluctus EBow feedback kit. A vivid reminder of the avant-garde’s capacity to perplex, exercise and fizz minds, rather than go up its own arse.
“At the first moment the title sounds vague and imprecise, but this is deceptive: The music Roulleau and Friedl spread out here before our ears is crisp and sharp and precisely what the title promises: Not any arbitrary vibrational fields but physical and energetic transitions of matter and energy, constant changes of state, generating sensual transformations in terms of strata and spheres . Strata with well defined, sonic boundaries versus spheres as the unlimited, cosmic, intermingling, overwhelming, immersive.
Reinhold Friedl's pianistic mathematics blend with Gwennaëlle Roulleau's granular organics, playing with interferences between sources of different nature. From epileptic jolts to tonal lines as elegant as they are imperturbable, we slide down the strings, collide with electronic sounds, particles, glitches or low voltages, to open up harmonic fields. Changing cycles of notes and vibrations generate new materials, rough or liquid, light or massive. The marriage of cycles and rhythms reveals new sonic beings.
We vibrate between strata and spheres , the intimate and the infinitesimal, the latent movement and the momentum that sweeps away, brutal, without asking for a second thought. Decisive micro events evoke logical musical forms, based on the play of spatial shapes: strata & spheres.”